By Tom Boudrot
‘Tuck Everlasting’– Book by Claudia Shear and Tim Federle. Music by Chris Miller; Lyrics by Nathan Tysen; Based on the novel by Natalie Babbitt, Nancy Curran Willis, Director; Matthew Stern, Music Director; Lara Finn Banister, Choreography; Janie Howland, Scenic Designer; Brian Simons, Costume Designer; SeifAllah Sallotto-Cristobal, Lighting Designer; Elizabeth Havenor, Sound Designer. Presented by The Umbrella Stage Company, 40 Stow Street, Concord through
December 22
The 1975 classic children’s story, Tuck Everlasting by Natalie Babbitt is the story of Winnie Foster and her search for adventure in Tree Gap, New Hampshire in the year 1893. It has won the hearts of many a child as well as literary awards that include the Janusz Korczak Medal and the Christopher Award as best book for young people. The book has twice been adapted to film, and as a Broadway musical. The second film, by Disney (2002) is the best-known adaptation, featuring ‘Gilmore Girls’ star Alexis Bledel as Winnie.
As director Nancy Curran Willis notes of the original musical production “the Broadway production was unable to compete against the phenomenon that was ‘Hamilton’ and closed after only 39 performances. But Broadways’ loss has been regional theaters’ gain.”
In its inaugural season, The Umbrella Stage Company is the first professional company to bring this show to area audiences. It is being presented on the brand new, 344-seat main stage theater in Concord Center. Like so many Children’s novels, Tuck Everlasting actually deals with some very mature topics. In this instance life, death, loyalty, growing old, and quality of life vs. length of life.
The talented Madi Shaer plays Winnie Foster, a bored 11-year old girl in a small New Hampshire town who stumbles upon a family that has been keeping a secret to themselves for a surprisingly long time.
After unwittingly drinking from a stream in woods now owned by Winnie’s family, the Tuck clan find themselves with some amazing powers, including longevity, as they stop aging altogether. While that might seem like a blessing to some, this is where the play reveals its theme: the sorrow of a life not fully lived, or worse, lived in fear. Indeed, as the play opens, Angus Tuck, played by Anthony Pires, Jr. has been suffering a decades-long depression because as he sings: “You can’t have living without dying, so you can’t call this living at all”. In the end we get to see if Winnie decides to live a very long life with the Tucks or a shorter existence among the friends and family she’s known.
Turning this sometimes serious story into a musical was not without some risk, but with lively dances, very colorful costumes and lots of enjoyable music the production glosses over some of the harsher realities of the novel, making it light and enjoyable for adults and more palatable for the younger audience members.
Producer Brian Boruta’s decision to present it in December was deliberate, as it’s a time of the year when family and friends are looking for something to enjoy that’s “a little outside the box”. This is definitely family fare. The songs were enjoyable but no one number stands out or leaves you humming a melody on your way out of the theater. While all the performers were talented singers who handled the often challenging music quite well, Pires, Jr’s wonderful, baritone stood out, especially against the many alto voices of the other cast members which at times felt strained.
Notable among the songs and performances were Shaer and Max Charbonneau (Jesse Tuck) singing and dancing to “Partner in Crime”, and a sparse but hilarious rendition of “You Can’t Trust a Man” by Matthew Zahnzinger (Constable Joe) and a funny, scene-stealing Timmy Chase as Hugo. Chase manages to perfectly channel the awkward, innocent nephew, Harold from the Red Green Show.
The scenery changes were sparse but inventive with the background scene suggesting the Foster’s woods. A symbolic clock face covers the floor of the stage and an iron gate represents Winnie’s sense of being trapped in her “boring” life. The choreography was fun and amusing, reminiscent of a country hoedown, befitting the era and location in which the story takes place.
All in all, it’s a very enjoyable night for the entire family at the comfortable new main stage theater in Concord Center. For tickets and information visit: https://theumbrellaarts.org/theater
